Goat Girl are one of a number of bands in South London who are currently enjoying a bit of the limelight. Contemporaries such as the recently lauded Shame along with Madonnatron, Bat-bike, Horsey and Sorry help each other out with gigs and such. Goat Girl’s eponymous debut sees them blast through 19 tracks in 40 minutes, aided and abetted by producer of note Dan Carey (Bat For Lashes, The Kills, Franz Ferdinand). The result is a melting pot of myriad influences from The Kinks to The Slits to Krautrock.
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Before listening to this album I couldn't get my head around who Goat Girl were and how they sounded and where to put them in the lazily compiled compartment in my head. Perhaps the reason is that with 19 songs in 40 minutes, it's hard to get a handle on Goat Girl without listening to a number of their tunes.
They play dark and spindly post punk with each song a (im)perfectly formed miniature. They use tangled guitars, creeping violins and percussion to create these small epics which are all self contained and simply executed. They are very eerie and although the Slits and Siouxie and the Banshees are immediate comparisons, I also hear the dark sludgy blues of the likes of Gallon Drunk and PJ Harvey creeping through. When they get it right on 'Creep' they are excellent. They also harbour something of the Breeders sweet/sour harmonies and spindly lop-sided rock on 'Slowly Reclines' ands I like the fact that they are happy to include little instrumental passages like 'Moonlit Monkey' and 'Hanks Theme' .
Singer Lottie is seemingly permanently pissed off and sometimes I'd like a little more playfulness in her approach and as you can imagine with 19 tracks there are some things here that don't work. But this is vibrant, often surprising DIY guitar music that is unafraid of heading way outside it's comfort zone. Goat Girl seem to exist in their own little bubble and that is the best way to be. To enjoy them fully you have to climb right into their world - not half the way in - get fully in and you'll find lots of rewards.
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